Degree Critical revisits Lauren Palmer’s review of “Life to come” at Metro Pictures
Author: degreecritical1
“Manifesto” at the Hirshhorn Museum and Sculpture Garden
Sahar Khraibani considers the role of manifestoes in art history in her review of “Manifesto” at the Hirshhorn Museum and Sculpture Garden
From Afar, A War
Sumeja Tulic considers the traces of war in MoMA PS1’s “Theater of Operations: The Gulf Wars 1991-2011”
A Space of Pure Imagination: Swoon’s CICADA at Jeffrey Deitch
Cigdem Asatekin considers the theme of rebirth in Swoon’s latest exhibition
A Face Nature “Blessing” for a Transverse Meal
Lune Ames writes about an immersive performance, “Face Nature” lead by Madeline Schwartzman
The Hour of Exposure
Yinka Elujoba explores the role of elasticity and consonance in three double exposure photographs
Vija Celmins: To Fix the Image in Memory at The Met Breuer
Cigdem Asatekin reviews “Vija Celmins: To Fix the Image in Memory” at The Met Breuer
The Souvenir, The Wound
Cynthia Cruz considers class privilege and social distance in her explication of the film “The Souvenir”
The Aerial Muse & Maine’s Fallow Fields of History
Lune Ames explores indigenous history in Yvonne Jacquette’s “Little River Farm”
Dispatch From Thailand: Temporal Topographies at the MAIIAM, Chiang Mai
David Willis considers MAIIAM Contemporary Art Museum’s new acquisitions
Joan Jonas’s “Moving Off the Land II” at Ocean Space in Venice
Monika Fabijanska considers feminism and the role of the artist in Joan Jonas’s “Moving Off the Land II” at Ocean Space in Venice
Howardena Pindell: Autobiography at Garth Greenan Gallery
Sahar Khraibani reviews “Howardena Pindell: Autobiography” at Garth Greenan Gallery
